"Everything
conspires and it frustrates you. Everything in your mind is
in the
film and it's hard to do that. The director has it pictured
perfectly in his head, every shot, performance every nuance
and it's been playing in his head for months. It can take years
before you get to the set and shoot it. You have
to coax and congeal the crew the cast, everyone to get what's
in your head
into celluloid so people can see it. It's frustrating, it's
so hard to realise what your fantasies are what you what to
come true. That is effectively what you
are trying to do."
So what's next for Paul Hills?
"I've retired and I've gone into carpentry. To be honest
I've had a very frustrating eighteen months. A film, which I
was going to do back to back
with 'Boston Kickout', called 'Raving Beauties' kept on getting
delayed. Now
the film is coming back. We're shooting it in September it's
set on around
five women who enter a beauty contest in the north of England.
So it should come out in the middle of next year, probably."
Finally what does it for you? The fact that people have paid
to watch your movie? That you could put something together label
it and say,
"this is mine"? Or is it about people, such as myself
now, are actually talking about your films afterwards?
"Let me tell you about the most rewarding thing about this
film was during
it's first screening in Spain. It wasn't quite finished and
at that point you
have a personal idea if it works or not but you have no idea
if it works on an audience. You are so nervous. You are scared
shitless of showing that film which you have spent years of
your life on, which is so intrinsically
connected to you by an umbilical chord, but it's you. It's a
part of you on screen. I was so nervous I couldn't watch it.
I stood outside and waited
for any laughs. I expected a laugh when Matt throws up and it
was
so wonderful to get the right response from a film that is subtitled
in Spanish." >>
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